Armed Forces
12 February - 14 May 2011
Zürich, Hubertus Exhibitions
Gnarled, sinewy and wrinkled with age, Louise Bourgeois's hands were fascinating. Her hands are the subjects of portraits taken by the artist Alex Van Gelder, who, at Bourgeois's invitation, photographed her at her New York townhouse during the last year of her life. The resulting portfolio of eighteen photographic prints will be on display at Hauser & Wirth Zürich from 12 February.
More than purely a portrait project, Bourgeois considered this collaboration to be an extension of her work. Through this series, she put forth her own physicality to be viewed as an element of her art, focusing on her hands as her tools.
Clenched or cradling, her hands recall many of her works, from the entwined finger-like forms of 'Clutching' (1962), to the skein of lines of her 'Insomnia Drawings' and the poised spiders of her 'Maman' series. Van Gelder’s images are stark, showing just the hands against the black fabric of her clothes. They are flooded with intimacy and warmth, reflecting his closeness to Bourgeois and the trust she placed in him to work with her on this project.
The portfolio is printed in an edition of 10 and will be shown both on the walls of the gallery and also displayed in its original linen box. The exhibition is accompanied by a fully illustrated catalogue, 'Alex Van Gelder – Louise Bourgeois. ARMED FORCES', published by Ediciones Polígrafa and Hauser & Wirth.
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Louise Bourgeois
2010
Born in France in 1911, and working in America from 1938 until her death in 2010, Louise Bourgeois is recognized as one of the most important and influential artists of the 20th Century. For over seven decades, Bourgeois’s creative process was fueled by an introspective reality, often rooted in cathartic re-visitations of early childhood trauma and frank examinations of female sexuality. Articulated by recurrent motifs (including body parts, houses and spiders), personal symbolism and psychological release, the conceptual and stylistic complexity of Bourgeois’s oeuvre—employing a variety of genres, media and materials—plays upon the powers of association, memory, fantasy, and fear.
Bourgeois’s work is inextricably entwined with her life and experiences: fathoming the depths of emotion and psychology across two- and three-dimensional planes of expression. ‘Art,’ as she once remarked in an interview, ‘is the experience, the re-experience of a trauma.’ Arising from distinct and highly individualized processes of conceptualization, Bourgeois's multiplicity of forms and materials enact a perpetual play: at once embedding and conjuring emotions, only to dispel and disperse their psychological grasp. Employing motifs, dramatic colors, dense skeins of thread, and vast variety of media, Bourgeois's distinctive symbolic code enmeshes the complexities of the human experience and individual introspection.
Rather than pursuing formalist concerns for their own sake, Bourgeois endeavored to find the most appropriate means of expressing her ideas and emotions, combining a wide range of materials—variously, fabric, plaster, latex, marble and bronze—with an endless repertoire of found objects. Although her oeuvre traverses the realms of painting, drawing, printmaking, and performance, Bourgeois remains best known for her work in sculpture.
Bourgeois’s early works include her distinct 'Personages' from the late 1940s and early 1950s; a series of free-standing sculptures which reference the human figure and various urban structures, including skyscrapers. The ‘Personages’ served as physical surrogates for the friends and family Bourgeois had left behind in France, while also highlighting an interest in architecture dating back to her childhood. Her installation of these sculptures as clustered ‘environments’ in 1949 and 1950 foreshadowed the immersive encounters of installation art twenty years before the genre’s rise to prominence.
Bourgeois’s work was included in the seminal exhibition ‘Eccentric Abstraction,’ curated by Lucy Lippard for New York's Fischbach Gallery in 1966. Major breakthroughs on the international scene followed with The Museum of Modern Art in New York's 1982 retrospective of her work; Bourgeois's participation in Documenta IX in 1992; and her representation of the United States at the 45th Venice Biennale in 1993.
In 2001, Bourgeois was the first artist commissioned to fill the Tate Modern’s cavernous Turbine Hall. The Tate Modern’s 2007 retrospective of her works, which subsequently traveled to the Centre Pompidou in Paris; The Guggenheim Museum in New York; The Museum of Contemporary Art in Los Angeles; and The Hirshhorn Museum & Sculpture Garden in Washington D.C., cemented her legacy as a foremost grande dame of late Modernism.
Header image: Louise Bourgeois, ARCHED FIGURE, 1993 © The Easton Foundation/VAGA, NY, Photo: Christopher Burke
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